Well I got a pretty nice sound out of the X3 (using the SVT model, fiddling a bit with the eq, no stomp), plugging it straight to the power section of the 1x15" Peavey combo I'm loaning at the moment, though the Peavey feels a bit "floppy", not as tight as I'd like (this was to be expected). I went to my FLGS and I'm probably going to go with Hartke gear (HA3500C head and a 4x10 cab, I'll audition aluminum and cardboard/paper cones to see which suits my needs better), due to them being a. available, b. nicely in my price range, got a nice deal and c. from what I've heard they sound pretty good. Time to start saving up.

BTW: I am so happy I got the X3 Live when I did and not an XT or anything like that. Our new rhythm guitarist lacks some gear so he's been using my old amp. Somehow the combination of his guitar, distortion pedal and the amp sounded like shit. He got a decent rhythm tone out of it, but leads always sounded horrid. Seeing as I never had any problems with my old setup, I plugged his guitar into the X3, put a Metal Zone model on, adjusted him to the left channel, fiddled around for like 10 seconds and he started sounding good. Then I just plugged my bass to the aux input, added my setup to the right channel and plugged into the two amps. Problem solved.

He still needs to get his own gear though...

Parks wrote:If the posts on this forum are any indication, the PD is like a Teebird with sunshine coming out of its butthole so hard that it flies faster.

I've heard that when the Hartkes were new to the market people were able to crack the diaphragms by playing. So they weren't a safe option for gigging. Dunno how their durability is theses days.

Flat shots need running on the center line of the tee and planting each step on the center line. Anhyzer needs running from rear right to front left with the plant step hitting the ground to the left of the line you're running on. Hyzer is the mirror of that.

God fucking dammit. I'd just made up my mind about the bass rig, looked into selling parts of my guitar rig, could have had it in a couple of months...

Then I went to my FLMS and they had the DT50 212, and from what little I had time to play with it, it's just awesome. I'm really really torn between should I get the bass gear (which I kinda actually need in order to play with the band...) or for twice the money get the DT50 (which I don't really need, but holy hell do I ever want it sooooo badly)...

If it didn't come through, I'm totally harblarghaiekajbaerkjmnurdur for the DT50. Wonder how much I'd get for a kidney... Or a lung...

Parks wrote:If the posts on this forum are any indication, the PD is like a Teebird with sunshine coming out of its butthole so hard that it flies faster.

It's a Cort EVL-Z4B. I absolutely LOVE it. It's got pentagram fret inlays, which I could honestly care less about. I got it because it feels AWESOME. I saw it at a local shop yesterday just driving around looking at pawn shops and stuff, and then I ran across this brand. I never heard of them before but I came home and did some research on it. Didn't really find any bad reviews or negativity about the brand. Looked on their site, and I think I read somewhere that Ibanez outsources some of their guitars thru their factory. Supposedly the Cort factory can produce 1 million guitars a year and has one of the biggest factories in Indonesia.

Anyways. I did my homework, and looked at prices online to compare to. Went in, played it for a while. LOVED the action on it and decided to get it. It plays awesome, and it's LIGHT. Compared to my Ibanez 5 string and my B.C. Rich, this thing is fun because I can move around a bit with it.

I just started jamming with some guys who play in Drop A. That's pretty damn low. I asked around on the Talkbass.com forums about slapping some big big strings on a 4 string, and if I would have intonation problems and other stuff. I'm going to mess with the nut to grind it down a bit to make a set of .150s fit. If it works I'll have a really fast 4 string for this Drop A project. They play VERY technical/fast Lamb of God type of stuff and this 5 string is good for it, but it's just thick.

BASSSSSSSSS OVERLOADDDDDDDD!I could totally piss off half of my apartment complex with this shit.

That red one in the middle is a Charvel neck thru that I picked up from Craigslist for $30. JUST the body tho. Nothing else. No tuning pegs, electronics, input cover, rear back plastic cover. NOTHING. I reworked the neck, got an EMG P/J combo in there now... Today UPS is coming with all my parts from Warmoth. Got a new bridge, tuners, black knobs, all that jazz. Picked up a pack of .105 Mediums today at lunch. Hoping to have it up and playable tonight. That is is the tuning pegs fit. The hole is super big compared to the norm, so I'm hoping these 17mm ones fit snug.

You can overdrive it at lower volumes and for 5 tube watts it's big enough for garage jam sessions. Plus, it'll be mean if you push it or clean up for blues. I rarely go back to my solid state after getting the Champ 600.

Itchy, I've heard good things about the Champ. I was a little cautious of the "one knob wonders", do you just use pedals to change your sound as needed or is that one knob just super flexible?I assumed lack of adjustments would be limiting. That is a huge part of the reason the Lil Night Train caught my attention.

The Champ has a high and low input, so if it's blues, I go low. If it's rock, I go high. But, yes... I have some pedals. BUT the volume does your tone and volume depending on which input you're plugged into. I find Ruby tubes do both creamy blues and crunchy rock, so I really like them in this amp. The pair have some real soul.

This is my normal pedalboard (minus the Devi Ever) feeding right to left feeding into the Champ 600 with Ruby Tubes and it plays into a microphone preamped with a home made circuit based on a FET.

...actually I lied, I have this Big Muff I built and a Foxx Tone Machine rip-off I built.Here's the Big Muff Pie